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Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer -
Enrico Caruso (1873-1921)
ENRICO CARUSO (1873-1921) Birth Name: Enrico Caruso Place of Birth: Naples, Italy Career Highlights: Enrico Caruso was widely considered the greatest international opera star of his day. He was not American – Caruso was born and died in Naples, Italy – but he spent many years living in New York as a leading star at the Metropolitan Opera, and was the United States’ first recording superstar, issuing almost 300 recordings with the Victor Talking Machine Company (later RCA). While much of his recording focused on operatic works, Caruso recorded many popular songs, including the Neapolitan (southern Italian) song “O Sole Mio,” in the language of his native Naples. (In 1960, Elvis Presley had a No. 1 hit with the song “It’s Now or Never,” sung to same tune as “O Sole Mio.”) In 1918, Caruso recorded the patriotic American World War I song “Over There.” Recording: “O Sole Mio” (traditional Italian song), 1916 Recording: “Over There” (patriotic World War I song), 1918 Questions to consider: What cities are the newspapers below from? What does the size and placement of the articles about Caruso’s death suggest about his popularity in the United States? What are some of the terms used to describe Caruso in the headlines to these articles? Why might American audiences have been interested in listening to recordings of popular Italian songs? What does Caruso’s recording of a song like “Over There” suggest about his attitude toward the United States? About Americans’ attitudes toward him? Why might it have been easier for an Italian to find success as an opera star in the United States during this period than in another field? How might Caruso’s success have helped paved the way for singers of Italian descent who came after him?. -
Hemsing Associates, Inc
Hemsing Associates, Inc. 401 East 80th Street, Suite 14H New York, NY 10075-0650 Tel.: 212/772-1132 Fax: 212/628-4255 HEMSING ASSOCIATES Public Relations for the Arts Josephine Hemsing Managing Director Dan Cameron Managing Director Vanessa Meiling Haynes Publicity Associate Ellen Churui Li Publicity Associate Joanna Malinowska Graphics Designer www.hemsingpr.com FOR IMMEDIATE RELEASE MUSICIANS FOUNDATION TO RECEIVE $25,000 GRANT FROM THE NATIONAL ENDOWMENT FOR THE ARTS Funds To Be Used To Organize NYC Conference Slated For Fall 2021 To Focus On Performing Artists’ Needs in Time of Crisis June 29, 2020, New York City—The Musicians Foundation is honored to announce that it has been granted a generous Art Works award of $25,000 from the National Endowment for the Arts. Funds are to be used to organize a national conference of organizations that assist professional performing artists in times of need and crisis. The conference, which gains urgency and a new significance in the COVID-19 pandemic, is currently slated to take place in New York City in the fall of 2021 and will address the situation in which performing artists have suffered extreme loss of income as current and future engagements have been cancelled. (Depending on COVID-19 government guidelines, the conference might be postponed till spring 2022.) The conference will be organized by the Musicians Foundation in tandem with a Steering Committee of national and regional organizations, including the Actors Fund, MusiCares, Jazz Foundation, and Episcopal Actors Guild. Founded in 1914 by the Bohemians, a group of musicians and music lovers, the Musicans Foundation was first led by such important figures as Frank Damrosch, Franz Kneisel, Rubin Goldmark (teacher to Aaron Copland and George Gershwin,) and Rudolf Schirmer. -
1. Early Years: Maria Before La Callas 2. Metamorphosis
! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani. -
Beau Geste Press. a Liminal Communitas Across. Jessica Pujol
Kamchatka Revista de análisis cultural N. 12 Experimentación poética y contracultura en contextos dictatoriales ibéricos y latinoamericanos (1960-1990): colectivos, acciones y reacciones Coordinado por Mercè Picornell y Maria Victòria Parra Moyà EXPERIMENTACIÓN POÉTICA Y CONTRACULTURA EN CONTEXTOS DICTATORIALES IBÉRICOS Y LATINOAMERICANOS (1960-1990): COLECTIVOS, ACCIONES Y REACCIONES KAMCHATKA. REVISTA DE ANÁLISIS CULTURAL 12 (2018) Monográfico coordinado por MERCÈ PICORNELL Y MARIA VICTÒRIA PARRA MOYÀ MERCÈ PICORNELL Y MARIA VICTÒRIA PARRA MOYÀ. Experimentación poética y 221-228 contracultura en contextos dictatoriales ibéricos y latinoamericanos (1960-1990): colectivos, acciones y reacciones. JUAN GONZALEZ GRANJA. Los tzánticos amenazan la ciudad: la performance 229-251 poética de la indig-nación en el Ecuador moderno. MALENA LA ROCCA. “Rompiendo la piñata del Mundial”. Los usos de la fiesta en 253-271 montajes teatrales, recitales y acciones callejeras durante la última dictadura cívico- militar argentina. PAULINE MEDEA BACHMANN. Poesía en circulación. Estéticas politizadas entre 273-290 exposición, documentación y lectura en el Cono Sur. JÈSSICA PUJOL DURAN. Beau Geste Press: a Liminal Communitas across the New 291-312 Avant-gardes. ALBERTO VALVERDE OTERO. El Grupo Rompente (1975-1983). Un viaje 313-332 inesperado por la Transición en el campo literario gallego. IRATXE RETOLAZA. Poéticas experimentales en la resistencia cultural vasca: 333-369 'Isturitzetik Tolosan Barru' (1969). MERCÈ PICORNELL. Campo literario y reconstrucción democrática. -
The Annotated Pratchett File, V9.0
The Annotated Pratchett File, v9.0 Collected and edited by: Leo Breebaart <[email protected]> Assistant Editor: Mike Kew <[email protected]> Organisation: Unseen University Newsgroups: alt.fan.pratchett,alt.books.pratchett Archive name: apf–9.0.5 Last modified: 2 February 2008 Version number: 9.0.5 (The Pointless Albatross Release) The Annotated Pratchett File 2 CONTENTS 1 Preface to v9.0 5 The Last Hero . 135 The Amazing Maurice and his Educated Rodents . 137 2 Introduction 7 Night Watch . 138 3 Discworld Annotations 9 The Wee Free Men . 140 The Colour of Magic . 9 Monstrous Regiment . 143 The Light Fantastic . 14 A Hat Full of Sky . 147 Equal Rites . 17 Once More, With Footnotes . 148 Mort . 19 Going Postal . 148 Sourcery . 22 Thud . 148 Wyrd Sisters . 26 Where’s My Cow? . 148 Pyramids . 31 Wintersmith . 148 Guards! Guards! . 37 Making Money . 148 Eric . 40 I Shall Wear Midnight . 149 Moving Pictures . 43 Unseen Academicals . 149 Reaper Man . 47 Scouting for Trolls . 149 Witches Abroad . 53 Raising Taxes . 149 Small Gods . 58 The Discworld Companion . 149 Lords and Ladies . 65 The Science of Discworld . 150 Men at Arms . 72 The Science of Discworld II: the Globe . 151 Soul Music . 80 The Science of Discworld III: Darwin’s Watch . 151 Interesting Times . 90 The Streets of Ankh-Morpork . 151 Maskerade . 93 The Discworld Mapp . 151 Feet of Clay . 95 A Tourist Guide to Lancre . 151 Hogfather . 103 Death’s Domain . 152 Jingo . 110 4 Other Annotations 153 The Last Continent . 116 Good Omens . 153 Carpe Jugulum . 123 Strata . 160 The Fifth Elephant . -
Bob Wade Papers 6149
http://oac.cdlib.org/findaid/ark:/13030/c88k7gsm No online items Finding aid for the Bob Wade papers 6149 Jacqueline Morin USC Libraries Special Collections 2019 April Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California 90089-0189 [email protected] URL: http://libraries.usc.edu/locations/special-collections Note Collection processed and described with the initial assistance of Harper Hunt. Finding aid for the Bob Wade 6149 1 papers 6149 Language of Material: English Contributing Institution: USC Libraries Special Collections Title: Bob Wade papers Identifier/Call Number: 6149 Physical Description: 41.4 Linear Feet66 boxes Date (inclusive): 1938-2010 Biographical Note Robert (Bob) Wade, together with his longtime partner H. Bill Miller, wrote more than forty mystery novels, several of which were adapted for film. The most famous of these was "Badge of Evil" which was adapted into the Orsen Welles film "Touch of Evil." Wade and Miller first met at violin lessons when they were both 12 and they began writing together a few months later. They attended San Diego State University together, and when Wade was drafted in 1942, Miller enlisted with him. After WWII, they began their writing career in earnest and published their books under several pseudonyms including Whit Masterson, Wade Miller, Will Daemer, and Dale Wilmer. The partnership came to an end when Miller died of a heart attack in 1961. Wade continued to publish, but gradually transitioned to writing under his own name and began to focus on writing screenplays and encouraging film adaptations of his previous works. Wade died in 2012. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
Enrico Caruso
NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’. -
File Type Pdf Music Program Guide.Pdf
MOOD:MEDIA 2020 MUSIC PROGRAM GUIDE 2 Pop Adult Contemporary Hitline* ‡ Current Adult Contemporary Hits Current Top Charting Hits Sample Artists: Bebe Rexha, Shawn Mendes, Maroon 5, Niall Sample Artists: Ariana Grande, Zedd, Bebe Rexha, Panic! Horan, Alice Merton, Portugal. The Man, Andy Grammer, Ellie At The Disco, Charlie Puth, Dua Lipa, Hailee Steinfeld, Lauv, Goulding, Michael Buble, Nick Jonas Shawn Mendes, Taylor Swift Hot FM ‡ Be-Tween Hot Adult Contemporary Hits Family-Friendly, Modern Pop Hits Sample Artists: Ed Sheeran, Alessia Cara, Maroon 5, Vance Sample Artists: 5 Seconds of Summer, Sabrina Carpenter, Joy, Imagine Dragons, Colbie Caillat, Andy Grammer, Shawn Alessia Cara, NOTD, Taylor Swift, The Vamps, Troye Sivan, R5, Mendes, Jess Glynne, Jason Mraz Shawn Mendes, Carly Rae Jepsen Metro ‡ Cashmere ‡ Chic Metropolitan Blend Warm Cosmopolitan Vocals Sample Artists: Little Dragon, Rhye, Disclosure, Jungle, Sample Artists: Emily King, Chaka Khan, Durand Jones & The Maggie Rogers, Roosevelt, Christine and The Queens, Flight Indications, Sam Smith, Maggie Rogers, The Teskey Brothers, Facilities, Maribou State, Poolside Diplomats of Solid Sound, Norah Jones, Jason Mraz, Cat Power Pop Style Youthful Pop Hits Divas Sample Artists: Justin Bieber, Taylor Swift, DNCE, Troye Sivan, Dynamic Female Vocals Ellie Goulding, Ariana Grande, Charlie Puth, Kygo, The Vamps, Sample Artists: Chaka Khan, Amy Winehouse, Aretha Franklin, Sabrina Carpenter Ariana Grande, Betty Wright, Madonna, Mary J. Blige, ZZ Ward, Diana Ross, Lizzo, Janelle Monae -
El Lorca El Lorca (De 1995 À 1999)
SOPHIE ELBAZ El Lorca EL LORCA (DE 1995 À 1999) The history of Havana’s Great Theater dates back to 1837 when General Tacon founded the New World’s’ first theater on this same site in the heart of Cuba’s capital. Today, despite the faded splendour of the decor and heavy dependence on donations as diverse as food, guitar strings, pens, fashion magazines, and magnetic tape, the theater in a hub of cultural life. Havanese call it the ‘Garcia Lorca’ in reference to its magnificent main room built at the turn of the century. Looking at the ancient lithographs of the theater, one can have an idea of it’s former luxury. Before the hard times Cuba experiences today which threaten the Garcia Lorca’s survival, some of the most famous artists appeared on its stage, such as Sarah Bernhardt, Enrico Caruso, Rachmaninov, Anna Pavlova and Pablo Casals. 80 years old Alicia Alonso, founder of the theater’s resident Ballet Nacional and it’s most famous ballerina, embodies the revolutionary utopia. At the beginning of the 1960, Alicia devoted herself to the ideological line which advocated ‘Arts for Everybody ‘. Through her impetus, the theater, which was formely associated with the Cuban bourgeoisie, has turned into arts centre whose rich diversity contrasts with the dirth of such activities and entertainments available outside its walls. Beside performances during the ballet and opera seasons, people come to the Grand Theater to study dance, small companies rehearse in the Carpentier and Artaud rooms, movie fans crowd into the Luis Bunuel video room and the public visit painting and sculpture exhibitions. -
Felipe Ehrenberg Cv
FELIPE EHRENBERG b. 1943, Tlacopac, D.F., México. Died in Mexico, 2017 SELECTED EXHIBITIONS 2017 Felipe Ehrenberg | Living in my ART room. Baró Gallery, São Paulo, Brazil The last one and we leave. UAM Metropolitan Gallery, CdMX. Curator Dor Lourdes Hernandez Fuentes and Victor Munoz. 2015 Felipe Ehrenoerg 67 '// 15'. Freijo Gallery, Madrid. Curator Dor Marta Ramos-Yzauierdo. From so much trees we no longer see the forest, 15 digital prints and a pen and ink drawing around the photograph of 5 beheaded men, edition of three; Machado Ane Espacio, Mexico City. PAS DE DEUX: calligraphy of the gaze, prints, drawings, fabrics, 3D Dolípticos, cur: Cristina Sandoval; Gallery Enriaue Guerrero, CdMX. 2014 TOCATA Y FUGA, recent and unpublished series of abstract works (ocular poems), 40 watercolors with sanguine and carbon; cur.Tzirulnik; Baró Gallery; Sao Paulo, Brazil 2013 Open circuit: two editorial experiences - Felipe Ehrenberg Fund; the creation of the publishing house Beau Geste Press, founded by the artist in the United Kingdom, as well as the editorial experience that Ehrenberg fostered among the artistic community to his Allegada a México, in Particular a panir of the 80's. University Museum of Contemporary Ave / UNAM, Mexico City Borges in Mexico. Visual and literary chronicle, the Manuel M. Ponce Room of the Palacio de Bellas Aves, with a talk full of unpublished anecdotes between María Kodama, the Plastic anist Felipe Ehrenberg (live drawings by Borges), the photographers Paulina Lavista and Rogelio Cuéllar and the writer Eduardo Casar. 2011 That lady - field of blood; Large format watercolors and digital prints on large format vinyl, and Massacre at the Royal Casino (installation); third floor, Museum of Ane Contemporâneo Alfredo Zalce (on its 40th anniversary), Morelia, MICH.